Pesquisando por: "PIERRE AUGUSTE RENOIR" - Fotoarena - Agência de fotojornalismo

2X4JDTN Head of a Dog,. Auguste Renoir. 1870.

2X4JDTX Nude. Auguste Renoir. c. 1895.

2X4JDTP A Waitress at Duval's Restaurant. Auguste Renoir. ca. 1875.

2X40X6R The Apple Seller. Pierre-Auguste Renoir. c. 1890.

2X2Y33W This photograph shows Clap's flags at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled residents now include celebrit

2X2Y33K Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y33J Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y33N This photograph shows a sticker reading “Do not touch my Clap” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled re

2X2Y33M Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y33X Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y32C Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y324 This photograph shows the entrance of the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled residents now include celebrit

2X2Y31M Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31P Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y325 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31N Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y328 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31Y Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y320 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31J Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y326 This photograph shows a sticker reading “Do not touch my Clap” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled re

2X2Y323 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y322 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31R This photograph shows announcements at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled residents now include celebri

2X2Y31H Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31W Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31X This photograph shows announcements at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have soared and its well-heeled residents now include celebri

2X2Y327 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31K Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31E This photograph shows a placard reading “Montmartre Petanque Club is threatened to be evicted, support us!” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Prope

2X2Y321 Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31G Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31B Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X2Y31T Players compete in petanque (boules game) beneath a placard reading “the Clap is in danger” at the Lepic Abbesses Petanque Club (Clap) in Paris, France on April 23, 2024. Petanque is a game similar to bowls that is as dear to the French as village cricket is to the English. During the Belle epoque, Montmartre was the artistic heart of Paris, home to Pablo Picasso, Claude Monet and Pierre-Auguste Renoir, who were attracted by its cheap rents and bohemian nightlife. Today the picturesque district that was one of the settings of the 2001 film Amelie is a magnet for tourists. Property prices have

2X27XGG Country Lane. Pierre-Auguste Renoir. 19th - early 20th century.

2X17T29 Romaine Lacaux. Pierre-Auguste Renoir. 1864.

2X33WM6 Paris, France - 04 12 2024: Orsay Museum. Mrs. Darras painted by Pierre Auguste Renoir

2X33WM3 Paris, France - 04 12 2024: Orsay Museum. Mrs. Alphonse Daudet painted by Pierre Auguste Renoir

2X33WKY Paris, France - 04 12 2024: Orsay Museum. Alphonsine Fournaise by Pierre Auguste Renoir

2X33WKX Paris, France - 04 12 2024: Orsay Museum. Claude Monet by Pierre Auguste Renoir

2X1A370 Girl with a Watering Can, painting by French artist Pierre-Auguste Renoir, 1876

2WYCJHA In the Meadow. Auguste Renoir. 1888–92,

2WTN593 Portrait of Renoir by Frédéric Bazille. 1867.

2X06XGR Passion for Renoir, monographic exhibition. Prado Museum, Madrid, Spain.

2WR1KTW Two Sisters (On the Terrace), oil on canvas, 1881, Art Institute of Chicago Pierre-Auguste Renoir

2WR1KT4 Children at the Beach at Guernsey, 1883, Barnes Foundation, Philadelphia Pierre-Auguste Renoir

2WR1KT8 Portrait of Alfred Sisley, 1868, Foundation E. G. Bührle, Zürich Pierre-Auguste Renoir

2WR1KT5 Portrait of Charles and Georges Durand-Ruel, 1882 Pierre-Auguste Renoir

2WR1KRN Mother and Children, 1876, , New York Pierre-Auguste Renoir

2WR1KKP A Girl with a Watering Can, 1876, National Gallery of Art, Washington, D.C. Pierre-Auguste Renoir

2WP96BA Dance in the City is a painting created by the French artist Pierre-Auguste Renoir.

2WP3DTA Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.

2WK91WB The Mussel Harvest. Auguste Renoir. 1879.

2WK91W9 Oarsmen at Chatou. Auguste Renoir. 1879.

2WJ19N3 Pierre-Auguste Renoir, Wheatfield, 1879 ,oil on canvas, Thyssen-Bornemisza National Museum, Madrid

2X44MP6 Pierre-Auguste Renoir: The Skiff (La Yole) 1875, The National Gallery, London.

2WHN9XD cropped image of the painting by Pierre-Auguste Renoir in 1888,, oil on canvas, called 'Washerwomen' on display at the Baltimore Museum of Art

2WHN9X7 painting by Pierre-Auguste Renoir in 1888,, oil on canvas, called 'Washerwomen' on display at the Baltimore Museum of Art

2W9X785 Bathers Playing with a Crab. Pierre-Auguste Renoir. c. 1897.

2W9X6MY Lucie Berard (Child in White). Pierre-Auguste Renoir. 1883.

2TC9M64 Auguste Renoir. Flowers in a Vase. c. 1866

2TC9M67 Fruits of the Midi. Pierre-Auguste Renoir. 1881.

2WPK2EW Pierre-Auguste Renoir, (1841-1919), Wheatfield, 1879

2T8TNFX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFN Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFR Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF6 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF8 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNER Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNET Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNC1 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBB Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBK Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB7 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBG Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB4 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAF Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNA9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN90 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.